"his father, and thereafter worked with his brother, Karl Krehan, a Journeyman. In 1919, when the now-famous Bauhaus school of art and design began in nearby Weimar, its founder Walter Gropius established a workshop in production pottery, with the intention that it would be taught at a factory in Weimar. In 1920, when these arrangements foundered, Gropius invited Max Krehan to move to Weimar and join the Bauhaus staff. Krehan refused to leave his Dornburg pottery, but he did agree to work with students at that location (about fifteen miles from Weimar). As a result, the ceramics workshop of the"
"a radical arts and crafts school that Walter Gropius had founded in Weimar just after the first World War. He was recognized by Gropius as a significant talent and was quickly put at the head of the carpentry shop. (Gropius was to remain a lifelong mentor for a man who was 19 years his junior.) After the school had moved from Weimar to Dessau in 1925, Breuer returned from a brief sojourn in Paris to join older faculty members such as Josef Albers, Wassily Kandinsky, and Paul Klee as a Master, eventually teaching in its newly established department of architecture."
"on December 3, 1918. This group was established in the aftermath of the November beginning of the German Revolution of 1918–1919, when Communists, anarchists and pro-republic supporters had fought in the streets for control of the government. In 1919, the Weimar Republic was established. Around 100 artists of many genres who identified themselves as avant-garde joined the November Group. They held 19 exhibitions in Berlin until the group was banned by the Nazi regime in 1933. The group also had chapters throughout Germany during its existence, and brought the German avant-garde art scene to world attention by holding exhibits in"
"Weimar in 1919 by Walter Gropius. The school specialised in design, art and craftsmanship (architecture was not introduced as a separate course until 1927 after it had transferred to Dessau). Gropius contended that artists and architects should also be craftsmen, that they should have experience working with different materials and artistic mediums, including industrial design, clothes design and theatre and music. However, Gropius did not necessarily see a building and every aspect of its design as being the work of a single hand. Canadian development corporation Westbank, founded by Ian Gillespie, uses Gesamtkunstwerk as the founding idea behind the company's"
"The nation was particularly important in the early modern movement through the Deutscher Werkbund and the Bauhaus movement identified with Walter Gropius. The Nazis closed these movements and favoured a type of neo-classicism. Since World War II post-modern structures have been built. Since the reunification of Germany the trend went on. Contemporary architecture from Germany is internationally rather not recopied and therefore could rarely set aesthetic standards. German art has a long and distinguished tradition in the visual arts, from the earliest known work of figurative art to its current output of contemporary art. Important German Renaissance painters include Albrecht"
"the start of the Weimar Republic. By 1920, a sharp turn was taken towards the New Objectivity outlook. New Objectivity was not a strict movement in the sense of having a clear manifesto or set of rules. Artists gravitating towards this aesthetic defined themselves by rejecting the themes of expressionism—romanticism, fantasy, subjectivity, raw emotion and impulse—and focused instead on precision, deliberateness, and depicting the factual and the real. ""Kirkus Reviews"" remarked upon how much Weimar art was political: One of the first major events in the arts during the Weimar Republic was the founding of an organization, the (November Group)"
"the Bauhaus of Weimar by its founder, architect Walter Gropius. In May 1922 he attended the International Congress of Progressive Artists and signed the ""Founding Proclamation of the Union of Progressive International Artists"". Kandinsky taught the basic design class for beginners and the course on advanced theory at the Bauhaus; he also conducted painting classes and a workshop in which he augmented his colour theory with new elements of form psychology. The development of his works on forms study, particularly on points and line forms, led to the publication of his second theoretical book (""Point and Line to Plane"") in"
"print series ""A Weavers' Revolt"" when it was displayed in the Berlin Grand Exhibition of the Arts in 1898. In 1913, the Prussian house of representatives passed a resolution ""against degeneracy in art"". Under the Weimar government of the 1920s, Germany emerged as a leading center of the ""avant-garde"". It was the birthplace of Expressionism in painting and sculpture, of the atonal musical compositions of Arnold Schoenberg, and the jazz-influenced work of Paul Hindemith and Kurt Weill. Films such as Robert Wiene's ""The Cabinet of Dr. Caligari"" (1920) and F. W. Murnau's ""Nosferatu"" (1922) brought Expressionism to cinema. The Nazis"
"Bauhaus The Staatliches Bauhaus (), commonly known as the Bauhaus, was a German art school operational from 1919 to 1933 that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. The Bauhaus was founded by Walter Gropius in Weimar. The German term ""Bauhaus""—literally ""building house""—was understood as meaning ""School of Building"", but in spite of its name and the fact that its founder was an architect, the Bauhaus did not have an architecture department during its first years of existence. Nonetheless, it was founded with the idea of creating a"
"and associated aesthetic movements. The philosopher Johann Georg Hamann is considered to be the ideologue of ""Sturm und Drang"", and Johann Wolfgang von Goethe was a notable proponent of the movement, though he and Friedrich Schiller ended their period of association with it, initiating what would become Weimar Classicism. Weimar Classicism (German “""Weimarer Klassik""” and “""Weimarer Klassizismus""”) is a cultural and literary movement of Europe, and its central ideas were originally propounded by Johann Wolfgang von Goethe and Johann Christoph Friedrich von Schiller during the period 1786 to 1805. German Romanticism was the dominant movement of the late 18th and"
"are often treated as if transparent. ""The City"" (1916–17) was the first of his many paintings of the modern urban scene. Other examples include the apocalyptic ""Explosion"" (1917), ""Metropolis"" (1917), and ""The Funeral"", a 1918 painting depicting a mad funeral procession. He settled in Berlin in 1918 and was a founder of the Berlin Dada movement, using his satirical drawings to attack bourgeois supporters of the Weimar Republic. In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the"
"which emerged in 1900 at Ascona, Switzerland, is described by the Swiss art critic Harald Szeemann as ""the southernmost outpost of a far-reaching Nordic lifestyle-reform, that is, alternative movement"". It embraced a mix of anarchism, libertarian communism and various forms of artistic bohemianism and neopaganism. The ""völkisch"" ideologies were influential in the development of Nazism. Indeed, Joseph Goebbels publicly asserted in the 1927 Nuremberg rally that if the populist (""völkisch"") movement had understood power and how to bring thousands out in the streets, it would have gained political power on 9 November 1918 (the outbreak of the SPD-led German Revolution"
"Gropius & Schmieden"", into one of Berlin's greatest. The firm continued to produce great work thereafter as Schmieden teamed up with such notable architects as Robert Speer, Victor von Weltzien and Julius Boethke to run it. The present-day Martin Gropius Bau in Berlin was built in 1881 based on plans by Schmieden and Martin Gropius as an applied art museum. It was constructed in the style of the Italian Renaissance and has a central atrium. Mosaics with allegories from various ages and the coats of arms of German states decorate the spaces between windows. In 1881 he became a member"
"2008, designed by Israeli architect Ron Arad. People who were educated, or who taught or worked in other capacities, at the Bauhaus. Bauhaus The Staatliches Bauhaus (), commonly known as the Bauhaus, was a German art school operational from 1919 to 1933 that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. The Bauhaus was founded by Walter Gropius in Weimar. The German term ""Bauhaus""—literally ""building house""—was understood as meaning ""School of Building"", but in spite of its name and the fact that its founder was an architect, the Bauhaus"
"the group's work in the United States. The exhibition was initiated by the ZERO foundation and toured 2015-16 to the Martin-Gropius-Bau in Berlin and the Stedelijk Museum in Amsterdam. An exhibition opened in March 2015 at the Martin-Gropius-Bau Berlin. It was conceived and organized jointly by artists and experts in the tradition of the ZERO movement. Various subjects - articulated in time, space, color, reflection, vibration, light and movement - showed works of art from the central years of the ZERO movement from 1957 to 1967. With around 40 artists, the exhibition followed the ZERO spirit, from two-dimensional paintings to"
"of Poissy. An elegant white box wrapped with a ribbon of glass windows around on the facade, with living space that opened upon an interior garden and countryside around, raised up by a row of white pylons in the center of a large lawn, it became an icon of modernist architecture. In Germany, two important modernist movements appeared after the first World War, The Bauhaus was a school organized Weimar in 1919 under the direction of Walter Gropius. Gropius was the son of the official state architect of Berlin, who studied before the war with Peter Behrens, and designed the"
"of form and colour, employing vertical and horizontal layouts using only black and white and primary colors. Proponents of this movement included painters like Piet Mondrian, Vilmes Huszar and Bart van der Hoff as well as architects like Gerrit Rietveld, Robert van't Hoff and J.J.P. Oud. Bauhaus was a German-based movement that emphasized purity of geometry, absence of ornamentation and the motto 'form follows function'. This was a school of thought that combined craftsmaking with the fine arts and was founded by Walter Gropius. The goal was to work towards the essence of the form follows function relationship to facilitate"
"by then already gained some attention with his paintings. Van Doesburg saw in these paintings his ideal in painting: a complete abstraction of reality. Soon after the exposition Van Doesburg got in contact with Mondrian, and together with related artists Bart van der Leck, , Vilmos Huszár and Jacobus Oud they founded the magazine ""De Stijl"" in 1917. Although De Stijl was made up of many members, Van Doesburg was the ""ambassador"" of the movement, promoting it across Europe. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius, in order to spread"
"at the end of the 1920s, and in particular with the appointment of the radical communist architect Hannes Meyer as Gropius's successor, in 1929 Schlemmer resigned his position and moved to take up a job at the Art Academy in Breslau. Schlemmer became known internationally with the première of his 'Triadisches Ballett' in Stuttgart in 1922. His work for the Bauhaus and his preoccupation with the theatre are an important factor in his work, which deals mainly with the problematic of the figure in space. People, typically stylised faceless female figures, continued to be the predominant subject in his painting."
"the Bauhaus school, and its leaders left Germany. Two of these, Walter Gropius and Marcel Breuer, took positions at the Harvard GSD. Their iconoclastic focus on modern architecture appealed to Pei, and he worked closely with both men. One of Pei's design projects at the GSD was a plan for an art museum in Shanghai. He wanted to create a mood of Chinese authenticity in the architecture without using traditional materials or styles. The design was based on straight modernist structures, organized around a central courtyard garden, with other similar natural settings arranged nearby. It was very well received; Gropius,"
"Georg Schrimpf Georg Schrimpf (13 February 1889 – ) was a German painter and graphic artist. Along with Otto Dix, George Grosz and Christian Schad, Schrimpf is broadly acknowledged as a main representative of the art trend ""Neue Sachlichkeit"" (usually translated ""New Objectivity""), which developed, in Weimar Germany, in the 1920s as a counter-movement to Expressionism and Abstraction. Schrimpf was listed as a producer of Degenerate Art by the German National Socialist government in the 1930s. Schrimpf was born in Munich, his father having died before Schrimpf's birth. His stepfather later forced him to leave home. In 1902 he apprenticed"
"was founded in 1905. Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, Marianne von Werefkin, Gabriele Münter, Lyonel Feininger, Albert Bloch and others formed the group in response to the rejection of Kandinsky's painting ""Last Judgment"" from an exhibition. Der Blaue Reiter lacked an artistic manifesto, but it was centered on Kandinsky and Marc. Paul Klee was also involved. The name of the movement is the title of a painting that Kandinsky created in 1903, but it is unclear whether it is the origin of the name of the movement, as Professor Klaus Lankheit learned that the title of"
"movement originated in Germany at the beginning of the 20th century as artists such as Ernst Kirschner and Erich Heckel began to distort reality for an emotional effect. In parallel, the style known as cubism developed in France as artists focused on the volume and space of sharp structures within a composition. Pablo Picasso and Georges Braque were the leading proponents of the movement. Objects are broken up, analyzed, and re-assembled in an abstracted form. By the 1920s, the style had developed into surrealism with Dali and Magritte. Printmaking is creating, for artistic purposes, an image on a matrix that"
"of artistically worthless monuments and the formation of a state body to oversee and promote education in the arts. The Arbeitsrat reacted to the unpalatable situation concerning orders for young architects, who were lost in the First world war. The founding members were Bruno Taut, Walter Gropius acting from 1919, César Klein, and Adolf Behne as Chairman. The signatories of the first manifesto were - besides Taut, Gropius, Klein and Behne: Over 100 artists and architects from Germany and abroad, supported the group and were participants in its exhibitions. Some of these were: The Arbeitsrat recruited the public to participate"
"developed his ""Merzbau"", a forerunner of installation art. Dix and Grosz were also associated with the Berlin Dada group. Max Ernst led a Dada group in Cologne, where he also practiced collage, but with a greater interest in Gothic fantasy than in overt political content—this hastened his transition into surrealism, of which he became the leading German practitioner. The Swiss-born Paul Klee, Lyonel Feininger and others experimented with cubism. The New Objectivity, or Neue Sachlichkeit (new matter-of-factness), was an art movement which arose in Germany during the 1920s as an outgrowth of, and in opposition to, expressionism. It is thus"
"movement founded in 1929. Many of the artists studied in Paris and travelled throughout Europe. They worked and experimented in different areas of modern art: Futurism, Cubism, New Objectivity and Surrealism. Co–operation took place between avant-garde musicians and authors. Altogether thirteen exhibitions by """"Artes"""" took place in Warsaw, Kraków, Łódz and Lviv. The German occupation put an end to this group. Otto Hahn was executed in 1942 in Lviv and Aleksander Riemer was murdered in Auschwitz in 1943. Henryk Streng and Margit Reich-Sielska were able to escape the Holocaust (or Shoah). Most of the surviving members of Artes lived in"
"were practicing in a similar manner in the 1910s, using glass surfaces and severe geometric compositions. Examples of this include Walter Gropius and Adolf Meyer's 1911 Fagus Factory or Hans Poelzig's 1912 department store in Breslau (Wrocław). However, in the aftermath of the war these architects (as well as others such as Bruno Taut) worked in the revolutionary Arbeitsrat für Kunst, pioneering Expressionist architecture—particularly through the secret Glass Chain group. The early works of the Bauhaus, such as the Sommerfeld House, were in this vein. Expressionism's dynamism and use of glass (whether for transparency or colour effects) would be a"
"was designated a UNESCO World Heritage Site. In 1999, it was restored to an approximation of its original appearance by architect and his team. This restoration included the ""Gropiuszimmer""; the room that served as Walter Gropius' office when he was the director, which was returned to its former state, c.1925. The building now houses the School of Architecture, the Design Department, the Dean's office and the Rector's office. By date of appointment. Weimar Saxon Grand Ducal Art School The Weimar Saxon-Grand Ducal Art School (Großherzoglich-Sächsische Kunstschule Weimar) was created on October 1, 1860, by a decree of Charles Alexander, Grand"
"in Frankfurt am Main. In 1918, still prior to being discharged from military service, he threw an exhibition with his friend Oskar Schlemmer at the Galerie Schaller in Stuttgart. Baumeister and Schlemmer campaigned to bring Paul Klee to the Stuttgart Academy, which was rejected by the Academy. Klee, for his part, would have been willing to come. In 1919 Baumeister became a member of the Berlin artist association ""Novembergruppe"" (November Group). The group was founded by Max Pechstein in 1918, immediately following Germany’s capitulation and the fall of the monarchy. It remained one of the most important alliances of German"
"on his staff, and his best-known building. At a time of inflation and economic hardship, the Bauhaus sought a cost-effective, functional and modern design for housing. Thus in Weimar in 1923 there arose the Haus am Horn of Georg Muche and Adolf Meyer. In 1925, a year after the nationalist parties gained a majority in the Thuringian state parliament, the Bauhaus in Weimar was shut down. That same year, in Dessau, Gropius began to build a new school, completed in 1926. The Bauhaus Dessau is by far the most famous monument of classical modern art in Germany. When the Nazis"
"new institution integrating the two called the Bauhaus. In the pamphlet for an April 1919 exhibition entitled ""Exhibition of Unknown Architects"", Gropius proclaimed his goal as being ""to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist."" Gropius' neologism ""Bauhaus"" references both building and the Bauhütte, a premodern guild of stonemasons. The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of the arts. Swiss painter Johannes Itten, German-American painter Lyonel Feininger, and German sculptor Gerhard Marcks, along with Gropius, comprised the faculty"
"Bruno Schleinstein, Dominik Stahlberg, Michelle Stuart, Aldo Tambellini, Seth Tobocman, Jean Toche, Toyo Tsuchiya, Wolf Vostell, Friedrich Wall, Mathilda Wolf, Natalia E. Woytasik, Miron Zownir. NO!art NO!art is a radical avant-garde anti-art movement started in New York in 1959. Its founders sought to deliver a shock to the complacent consumerist society around them. The movement was initiated by Boris Lurie, Sam Goodman and Stanley Fisher who had come together to organise exhibitions at the March Gallery. They gave the name NO!Art to the movement on the occasion of their show at the Gallery Gertrude Stein. They set themselves against the"
"implementing industrial prototypes. Gropius was not necessarily against Expressionism, and in fact himself in the same 1919 pamphlet proclaiming this ""new guild of craftsmen, without the class snobbery"", described ""painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future."" By 1923, however, Gropius was no longer evoking images of soaring Romanesque cathedrals and the craft-driven aesthetic of the ""Völkisch movement"", instead declaring ""we want an architecture adapted to our world of machines, radios and fast cars."" Gropius argued that a new period of history had begun"